Comedy, Events, Festivals, Musical Theatre, Review, Whats On

REVIEW: Trifle Theatre company presents AVENUE Q

An unplifting transition into adulthood

By Myron My

Having seen the West End production six years ago (and remembering it strongly), I had high expectations for Trifle Theatre Company’s production of Avenue Q. Furthermore, I had some reservations as to whether it could match the magic of my original viewing, but within the first few minutes that doubt disappeared. We may only be in March but I can confidently say that this will be one of the best shows I see this year.

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The story follows a recent college graduate, Princeton (played by Jordan Pollard), who is a little wet behind the ears and entering the “real world”. Moving to Avenue Q (the best he can afford) he gets acquainted with the locals, including Kate Monster (played by Sarah Golding), Trekkie Monster (played by the wonderful Andy McDougall), married human couple Christmas Eve and Brian (Leah Lim and Michael Linder) and Gary Coleman (in a interesting casting choice, played by Zuleika Khan).

What follows is two hours of sharp and witty comedy and laughs as each character works towards finding their way in life. Despite the sexually charged innuendo and racy songs such as “Everyone’s A Little Bit Racist” and “The Internet Is For Porn”, there is much heart in these stories and that often-confusing transition into adulthood. The whole cast, including the ensemble, work seamlessly with the puppets and manage to create some human emotion through their movements, actions and speech.

Lighting work by Jason Bovaird captures the mood of the characters and the environment brilliantly and the stage design by Jacob Battista authentically replicates a shabby, down-town New York city block. The six piece band however, led by Musical Director David Wisken, are truly amazing in their unseen performance in a separate room to the small stage.

Avenue Q pushes boundaries between clever and lewd and the only way it succeeds is because puppets can get away with a lot more on stage than any actor could. With a big dose of disbelief, it perfectly blends the innocence of a childhood with the scary realisations of adulthood and creates an uplifting and affirming story about change and transition. Director Stephen Wheat should be congratulated on not only creating a show that is on par with its predecessors but also allowing it to form its own individuality and uniqueness.

I am strongly encouraging people to go and see this production, but the whole season has already completely sold out. Guess it really does suck to be you.

 

Venue: Chapel Off Chapel, 12 Little Chapel St, Prahran

Season: Until 11 April | Tue-Sun 8:00pm, Sat 2:00pm

Tickets: $43.50 Full | $38.50 Conc

Bookings: www.chapeloffchapel.com.au or 8290 7000

Cabaret, Comedy, Events, Festivals, Musical Theatre, Review, Whats On

REVIEW: Is it Flirting, Or is it Not?

Lots of flirtatious fun

By Narelle Wood

Kelly Rose Ryan deals with the hard topics and questions that affect us all through her musical investigation, seeking answers to Is it Flirting, or is it Not? From scenarios dealing with the timing of a text message, a pat on the arm, or a ‘hey’ from your local barrister, no stone is left unturned in examining whether a simple interaction is the blossoming of life-long-love.

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Ryan is sassy in her portrayal of flirtatious women at all different stages of their lives. Beginning with the innocent schoolyard crushes to the more sophisticated negotiating of adult relationships, Ryan attempts to discover exactly what each potential romantic interaction means. The stories range from heart-breaking break-ups to Saturdays night in as a cat lady.

The musical numbers include R. Kelly and some suave Gershwin, each song adding another opportunity for some flirting analysis. In a fairly unobtrusive manner, Ryan asks for audience participation, requesting their opinions and advice on some of the more ambiguous flirting moments. On this particular night, there was no definitive answer and Ryan makes a very valid argument for us all to be much more like Prince Charming.

Is it Flirting, or is it Not? may not deliver the answers about what constitutes a flirtatious encounter but does deliver lots of laughs. A cute show that hits all the right notes resulting in a really fun and flirty show.

Venue: The Butterfly Club, Carson Place, Melbourne

Season: 2nd and 3rd April, 7pm

Tickets: Full $32| Conc $28

Bookings: http://www.thebutterflyclub.com/show/is-it-flirting-or-is-it-not

Comedy, Events, Festivals, Whats On

REVIEW: Aunty Donna

Sketches of comedic truth

By Narelle Wood

It was clear while lining up for this show that I didn’t really fit into the normal demographic of Aunty Donna’s target audience. So it was with a little trepidation that I went to what this show.

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The comedy trio of Mark Samual Bonanno, Broden Kelly and Zachary Ruane that is Aunty Donna provide a series of comedy sketches, which while all separate sketches do strangely come together in the end with the help of their nemesis comedy group the Bubble Bath Boys. Many of the funniest sketches are based on comedic truths, such as standing in queues, misreading situations and playing ball in the quadrangle.

The combination of music, dialogue and dance makes for a very energetic show that smoothly transitions from one sketch to the next. The comedic timing is perfect and while the show heads towards some ‘smutty’ comedy, it approaches the line but for me it never crossed it. This means the show is funny without being cringe worthy, and that I was happy to forgive being hit in the face with water.

Aunty Donna clearly has a following and I now understand why; there is something reminiscent of DAAS in their sketch comedy performance. While there are plenty of shows to select from in the Comedy Festival, but if sketch comedy is what makes you laugh most, make sure you catch Aunty Donna.

Venue: The Cube, ACMI, Federation Square

Season: 9.45pm until 19th April (Sundays 8.45pm), no show Mondays

Tickets: $27 Full | $22 Conc

Bookings: http://www.comedyfestival.com.au/2015/season/shows/aunty-donna

Comedy, Events, Festivals, Review, Stand-Up Comedy, Whats On

REVIEW: Dirty. Sexy. Politics

Vote Albert and Valentine

By Caitlin McGrane

Come for the satire, stay for the music.

There is little fanfare as Tom Albert and Sam Valentine stumble through the velvet curtain to take the stage in The Butterfly Club; and initially they seem to have been kicked on stage by their manager. Do not be fooled however, for behind their boyish exteriors beat two bitingly cynical political hearts. These two vagabonds begin with an emphatic plea to the room to have them as their elected representatives. Representatives of what, exactly, is slightly unclear but it’s definitely something to do with sex. All the innuendo and double entendres is a useful way to get the audience fired up initially, it’s just a shame this energy couldn’t have continued throughout.

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No doubt creative, intelligent and energetic performers, Dirty. Sexy. Politics has the makings of a great show, I’m just not sure that we haven’t heard some of what they’re saying before. Surely I can’t be the only person who’s heard the one about the party whip? However, two things captured and held my attention in this show: the music, which was entertaining, irreverent, and poignant in places; and the quick asides from the performers when they appeared to slip from the ‘script’.

Albert and Valentine (a double act name that rolls easily off the tongue) shine on stage as vaudevillian counterparts, and I can’t wait to see what they come up with next. I particularly enjoyed the unions song, and when Valentine singled out my companion as a likely candidate for sexual dysfunction. I laughed most of the way through the hour, and had a thoroughly good time. This election, I’m voting for Albert and Valentine.

Venue: The Butterfly Club, Carson Place, Melbourne

Season: Saturday 28th March 7pm and Sunday 29th March 6pm.

Price: Full $28 |Conc $25

Tickets: http://www.comedyfestival.com.au/2015/season/shows/dirty-sexy-politics

Comedy, Events, Performances, Review, Whats On

REVIEW: Quiet Achievers

A quietly improvised comedy

By Myron My

Performing an improvised comedy show can be more terrifying than performing stand up. You have no idea what’s going to happen next from both your fellow cast and the audience. In essence, you have no safety net. You’d think that’s risky enough but the Quiet Achievers have taken it a step further with their Melbourne International Comedy Festival show and taken away a comedian’s most powerful tool; their voice.

Quiet Achievers

With nothing but a musical soundtrack of 500 songs played at random, the Quiet Achievers (Andrew Strano and Charlie Sturgeon) set out to captivate us with a mixed bag of silent impro sketches. As with any impro show, there is always a chance scenes will not hit the mark and with this show there are moments when stories fizzle out with an awkward ending or the story gets convoluted and confusing.

However, the two are charming and affable enough to get the audience on side early on so even when things go haywire, we don’t mind and can still appreciate the performance. There are some brilliant moments from this talented duo though, including the kite flying love story and their story about the little bird that learnt how to stand up for itself.

Strano and Sturgeon are a great pair to watch on stage. Strano’s comedy man to Sturgeon’s straight man is highly complimentary and the two have a great connection on stage. They are constantly aware of each other and what they are doing; they work hard (but seemingly easily) at giving each other a good time and making their partner look good. They happily accept every offer in advancing the story with confidence and a sense of fun.

 

There are a number of improvised comedy shows on during the Melbourne International Comedy Festival, but if you’re looking for something a little different, a little riskier but very rewarding, then the Quiet Achievers is the show for you.

 

Venue: Tuxedo Cat, 17-23 Wills St, Melbourne

Season: Until 4 April | Mon – Sat 6pm, Sun 5pm (no Wednesday show)

Tickets: $15 Full | $12 Conc

Bookings: Try Booking

Events, Performances, Review, Whats On

REVIEW: Global Creatures presents WALKING WITH DINOSAURS

A Spectacular Journey

By Narelle Wood

I’m not sure who was more excited to see Walking with Dinosaurs; my two-year-old nephew or myself. Before the show even started it was clear from the set that the staging and effects were going to be something spectacular and the show did not disappoint.

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Walking with Dinosaurs is a trip back in time when dinosaurs dominated and the world was known as Pangaea. The journey is narrated by Palaeontologist, Dr. Huxley (Andrew Blackman). Huxley introduces the dinosaurs and also explains the changes in the Earth’s landscape and how it affected the dinosaurs. I really appreciated the scientific explanations and walked out having learnt lots of new things about the evolution of the world.

The stars of the show are most certainly the dinosaurs, which are awe inspiring. Puppeteers inside the dinosaur control the smaller dinosaurs such as the Utah Raptors. At first glance these dinosaurs look adorable, but the movement is eerily lifelike and their behaviour is clearly menacing. We also met some ‘good’ dinosaurs, herbivores like the gigantic Brachiosaurus, whose sheer size seemed to consume Hisense Arena.

The dinosaurs are exceptionally impressive but so are the other elements that are subtle in comparison to the dinosaurs yet work together to make the show. The musical soundtrack is reminiscent of Jurassic Park and provides a perfect background to all the sounds and roars that you would expect to hear in the Crustaceous and Jurassic periods. The soundtrack is loud and the dinosaur’s roars are even louder and some of the little people sitting around me were a little scared. The backdrops and lighting are used to reflect the changes in the world’s atmosphere and provide really interesting transitions to new scenes.

Walking with Dinosaurs was an arena spectacular; this is one of the most incredible things I have seen. Despite some scary moments, my nephew was still roaring after we left and hands down the mummy dinosaur, the terrifying T-Rex was his favourite dinosaur of the night. For any dinosaur lover, young or old, this is not to be missed.

 

Venue: Hisense Arena

Season: 27th March 7pm, 28th March 11am, 3pm, 7pm, 29th March 11am, 3pm

Tickets: From $45

Bookings: premier.ticketek.com.au

Events, Performances, Review, Theatre, Whats On

REVIEW: Red Stitch presents WET HOUSE

An emotional and essential experience

By Myron My

A wet house is a hostel for alcoholic homeless men and women, where they can drink and sleep as much as they want with no expectations for them to be rehabilitated. They are more or less, the people that society has given up on. In Red Stitch’s production of Paddy Campbell’s Wet House, we get an insight into the lives of three residents and three workers of a wet house, each one struggling with their own redemption and reason for being.

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Wet House is based on Campbell’s first-hand experience of working in a wet house and you can see how effective a story can be when the writer well and truly knows what he is writing about. Not a single scene is wasted, no dialogue is filler, no movement is pointless. Everything that happens in Wet House has a purpose, and with six different stories being told, the pacing is controlled well and is never difficult to follow.

The performance opens with colleagues Helen (Caroline Lee) and Mike (David Whiteley) going through the handover of their shift. The dark humour used throughout is disturbingly funny and highlights even more the issues that the script is raising. The arrival of new recruit Andy (Paul Ashcroft), with his idealistic and simplistic views on helping these people comes into great conflict with the realities of the job as well as his relationship with Helen and Mike.

Wet house residents, Dinger, Spencer and Kerry (Nicholas Bell, Dion Mills and Anna Sampson), each have their own unique story to tell, but at the same time, their story is universal. Mills in particular is exceptional as Spencer, bringing a vulnerability and sympathy to a character we should revile against and disgusted by. The scenes between him and Whiteley are extremely intense to watch which is due to the strong performances and fearless directing by Brett Cousins.

Sophie Woodward’s set design captures the bleak environment of despair that these people face day in day out. There is a creative use of the space in the theatre that I have not seen before which draws you further into this world and story. Costumes have been used to give more life to the characters and build on their personalities.

Red Stitch’s production of Wet House opens discussion on alcoholism and how we support those who are seen as beyond help and how the intention to do good is ultimately never going to be better than action. It is an emotionally draining show but it is a show that needs to be seen.

Venue: Red Stitch Actors Theatre, 2 Chapel St, St. Kilda.

Season: Until 18 April | Wed- Sat 8:00pm, Sat 3:00pm, Sun 6:30pm

Tickets: $37 Full | $20-27 Conc

Dance, Performances, Whats On

REVIEW: Force Majeure Presents NOTHING TO LOSE

Unabashed and cheerful celebration of human bodies

By Margaret Wieringa

It’s rare to see an overweight body in underwear anywhere. The media is mostly about the traditional construct of ‘the body beautiful’, and even plus-sized models are posed to reveal only that which is deemed attractive – the curve of a large breast or the roundness of some junk in the trunk. But normal large men and women?

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Created by Force Majeure under the artistic direction of Kate Champion in collaboration with artist and activist Kelli Jean Drinkwater, Nothing to Lose is a performance art piece powerfully choreographed by Ghenoa Gela that uses personal experiences to embrace the fat body. It is at times confronting, challenging the audience to consider words and phrases they may have used or heard used toward large people: “What a pretty face”, “Haven’t you had enough?”, “Does your back hurt?”, and many more. At one stage, a group of audience volunteers were invited onstage to physically explore the bodies of the dancers – an exercise that mostly provoked awkward laughter.

The cast started onstage in near darkness as the audience moved into their seats, and when the house lights came down, they writhed about each other on the stage in very dim light. This continued for some time and had the feel of an exploratory exercise that the group may have completed in development of the work rather than a final piece. Unfortunately, it was not the only piece that felt under-prepared. At times some of the sequences felt longer than necessary, and I found the initial confrontation had lost its impact by the time the cast had moved onto the next scene.

Luckily, after a few scenes, the cast pushed pedestals into the space and arranged themselves on them to dance a beautifully synchronised piece. It was in this that I saw exactly how good the show could be. Each body was highlighted by the harsh lighting, frankly revealing the flaws and dimples that in daily life we mostly strive to hide. It was beautiful.

And then there was the jiggly dance – a delightful number with each body moving in a uniquely wobbly way and with exaggerated facial expressions that sent giggles rippling through the theatre. The performance ended on a high, with a hip-hop dance number performed by an extended cast that drew cheers from the audience. Nothing to Lose is at times awkward and a little uneven, but ultimately both triumphant and entertaining.

Nothing to Lose is playing at the Malthouse Theatre until March 21. Tickets can be booked at http://malthousetheatre.com.au/whats-on/nothing-to-lose

Review, Theatre, Whats On

REVIEW: Chunky Move presents DEPTH OF FIELD

A cross-cultural human experience

By Caitlin McGrane

Depth of Field is an immersive and fascinating theatrical experience. Played out on the Malthouse forecourt, the outdoor performance explores what it means to exist and thrive in Melbourne’s city. The evocative performance reminds the audience of how much the metropolis has changed, and how the unspoken interactions between strangers are a shared cross-cultural human experience.

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The performers, James Vu Anh Pham, Tara Jade Samaya and Niharika Senapati are all exceptional; their synchronicity was perfect. I loved how they seemed to fly through the space, only to come crashing down to earth in a cloud of dust. The forecourt space, often forgotten and dismissed, is perfect for the production; as the dance builds to a crescendo the dust fills the air, which combined with the breeze means the audience is treated to a deeply textural sensory experience.

While the three performers occupy the vast and featureless performance space, the surrounds are populated by extras, performers the audience might only notice once they walk past a handful of times. Their participation only increases the audience’s immersion; even when a (presumably) unpredicted visitor walks through the performance, it caused ripples of laughter through the audience as though they were in on the joke.

Director and choreographer Anouk van Dijk has outdone herself with this production, and I cannot recommend it emphatically enough. The music from Ben Frost, Daníel Bjarnason and The Bug is reminiscent of Hans Zimmer’s Interstellar soundtrack – the sweeping, crashing score is acutely emotive and perfectly compliments the lighting design by Michael Carr and Blair Hart.

This finely tuned performance made for a wonderful evening’s entertainment and my only regret is not bringing a jumper. As the sun set behind the cityscape, I found myself staring across the skyscrapers, reminded of the traditional owners of this intriguing land.

Date: Until Saturday 14 March

Time: 7pm

Venue: Malthouse Theatre, 113 Sturt St, Southbank

Tickets: http://malthousetheatre.com.au/whats-on/depth-of-field

Dance, Review, Whats On

REVIEW: Phantom Limbs Presents DREAMLOGIC

A beguiling reverie

By Caitlin McGrane

The opening 20 minutes of Dreamlogic took me slightly by surprise, it was like being in a psychological experiment and I did for a moment think that there might be an element of audience participation. Thankfully, I was mistaken. The two performers, James Welsby and James Andrews, begin by blowing up balloons and moving them around their bodies without using their hands. It’s incredibly awkward and hilarious to watch, as simultaneously audio from a psychology experiment plays in the background. The focus of the performance is on the subconscious mind, so it’s fitting that the opening seemed to encourage the audience to relax and let themselves be carried through the performance.

Dreamlogic

As the performance built to a crescendo, the space between the dancers reduced until they started to move beautifully together. I particularly enjoyed the surprising yet creative use of balloons, but was slightly disappointed they didn’t move around them towards the end as the balloons filled up the space. Choreographed creatively by Welsby himself and Amy Macpherson, the 50-minute show was delightfully captivating. The rhythmic ebb and flow of the performance captured the audience’s attention and held us in a dream-like state that continued even as I left the theatre. My absorption was only briefly distracted by the slightly clumsy lifts in the final act.

The subconscious mind and the spaces between people, the subject matter that inspired the performance, never felt tired or insipid. Instead, I found myself asking questions about the way that people interact with each other and how we move collectively through spaces. Dreamlogic is a delightful performance that I would highly recommend to anyone who enjoys thinking critically about how we interact.

Dreamlogic is showing at the Northcote Town Hall at 7:30pm until Tuesday 10 March. For tickets visit http://www.darebinarts.com.au/whats-on/dreamlogic-phantom-limbs.